Posted in Whathaveyou on March 2nd, 2015 by H.P. Taskmaster
Slovenian doom five-piece Mist will issue their new EP, the apostrophe-inclusive Inan’, on May 8 through Soulseller Records. Technically speaking, it’s their debut EP as well, though their Demo 2013 (review here) made enough of an impression that it was hard to think of it as the work of a band getting their bearings. Still, Inan’ will be four tracks and finds the Ljubljana outfit past the demo stage and onto more realized terrain. I wouldn’t be surprised if a first full-length followed soon behind.
Particularly notable is the fact that neither of the two tracks from Demo 2013 is reused for Inan’. I can’t help but wonder if there’s some aesthetic shift at play as well, and perhaps that’s what the incense and skull-holding in the photo above as well is hinting toward. We’ll find out in the Spring where Mist are headed sound-wise, and until then, here’s the info on Inan’ and the artwork for the EP, crafted by drummer Mihaela Žitko, courtesy of the PR wire:
MIST: New EP details revealed
Slovenian Doom Metal band MIST will release a new EP (cd/lim.12″/digital) on May 8th though Soulseller Records. The 4-tracker entitled »Inan’« will include 3 new songs and one from the »Demo 2013«, recorded anew with the influence of the band’s current lead guitarist, Blaž Tanšek.
MIST formed in July 2012, originally as an all-female band, and build their music on the legacy of legendary bands like Black Sabbath, Pentagram, Candlemass, Coven, Saint Vitus and others.
»Inan’« was recorded in the fall of 2014, produced, mixed and mastered by Benjamin Kic from BK Mastering. The brilliant cover art was created by drummer Mihaela Žitko.
Tracklist: 1. Inan’ 2. Frozen Velvet 3. Phobia 4. Under The Night Sky
Line-up: Nina Spruk – lead vocals Ema Babošek – rhythm guitar & backing vocals Blaž Tanšek – lead guitar Neža Pe?an – bass Mihaela Žitko – drums
Posted in Whathaveyou on February 26th, 2015 by H.P. Taskmaster
North Carolinian cult-themed heavy four-piece Demon Eye are gearing up to release their second album, Tempora Infernalia, May 8 on Soulseller Records. The new record follows pretty quickly on the heels of early-2014’s debut, Leave the Light (review here), which was well received for its classic influences and catchy songwriting, cuts like “Fires of Abalam” and “From Beyond” immediately resonant in their riff-led hooks. As much of Leave the Light garnered its material from Demon Eye‘s prior demo/EP, 2013’s Shades of Black, this will mark their first long-player comprised of completely new songs. The debut wanted nothing for flow between its tracks, but it should be interesting to hear what Demon Eye have come up with this time around as they offer a bit of darkness to go with springtime.
Album info follows, as posted on their Thee Facebooks. Thanks to Kathleen Johnson for the tip:
DEMON EYE – New album details revealed!
Dark and groovy, loud and heavy – DEMON EYE are back! North Carolina’s occult hard rockers will release their new full-length entitled “Tempora Infernalia” on May 8th through Soulseller Records. The album was recorded and mixed by Alex Maiolo at Seriously Adequate Studio in Carrboro, NC and mastered by Pete Weiss at Verdant Studio in Southern Vermont.
The band’s sophomore release after last year’s highly acclaimed debut, “Leave the Light”, is a blast of wicked riffery and skilled songcraft that conjures apocalyptic visions of a world on the brink of destruction. The end is near, and we welcome its arrival!
Cover artwork (created by John Hitselberger, Raleigh NC)
Tracklist: 1. End Of Days 2. Listen To The Darkness 3. I’ll Be Creeping 4. See The Signs 5. Poison Garden 6. In The World, Not Of It 7. Black Winds 8. Give Up The Ghost 9. Please, Father 10. Sons Of Man
Line-Up: Erik Sugg – Vocals, Guitars Larry Burlison – Guitars Paul Walz,- Bass Bill Eagen – Drums, Vocals
Posted in audiObelisk on October 31st, 2014 by H.P. Taskmaster
On Nov. 7, Oslo heavy psych rockers Spectral Haze will release their debut full-length, I.E.V.: Transmutated Nebula Remains through Soulseller Records. It’s the follow-up to a 2012 self-titled EP and their first outing to feature Thereminist/noisemaker Electric Starling, a six-track, two-sided collection of tripped out compositions, consuming in their psychedelic wash but with enough movement in the low end to keep from getting completely out of control, except, you know when that’s where they want to go.
The Norwegian fivesome of Electric Starling, guitarist/vocalist Spacewülff, guitarist Sönik Slöth, bassist Döômdögg (or at least I think that’s bass; he’s credited with “Dronemachinated AUM”) and drummer Cëlestïal Cöbra got their start in 2011, and their sound is geared for maximum swirl. On I.E.V.: Transmutated Nebula Remains, they trip out almost immediately, the three cuts on side A becoming an amorphous, molten flow that continues through the end of the 11-minute “Black Gandharvas,” and onto the relatively brief side B intro, “I.E.V. II: Observing the Centre of Infinity.” One gets flashes of Nebula at their most blissed, but the push behind the subsequent “Descent through the Intravoidal” is pure space rock, and Spectral Haze maximize that vibe with a steady undercurrent of synth and effects.
I.E.V.: Transmutated Nebula Remains culminates with the 13:45 “Triads and Trishulas,” an expansive, multi-layered jam that, if you weren’t yet lost in the album, is bound to drag your consciousness away with it into some grandiose cosmic void. Like the record as a whole, it’s a satisfying journey of well executed, full-sounding space and heavy psychedelia, layers intertwining as the jam progresses through multiple stages en route to the lysergic payoff of both itself and the five songs preceding, a crash-laden groove marking “Triads and Trishulas” as a suitable finale for the vastness before it.
Today I have the pleasure of hosting the full album for streaming. Set the controls for the heart of the fuzz, and enjoy:
[THIS STREAM HAS EXPIRED. THANKS FOR LISTENING.]
Spectral Haze‘s I.E.V.: Transmutated Nebula Remains is due out Nov. 7 via Soulseller Records on CD/LP/DL. More info at the links.
Posted in Whathaveyou on October 3rd, 2014 by H.P. Taskmaster
Not to be confused with Virginian Cough-offshoot Sinister Haze, Oslo cosmic rockers Spectral Haze are gearing up to release their first album, the quizzically titled I.E.V.: Transmutated Nebula Remains next month in the UK and Europe via Soulseller Records. The four-or-five-piece made their debut in 2012 with a self-titled demo that was as spacious as it was threatening, warping stoner riffage into overdrive and coming across like a more rock-minded version of cult doom, just with rituals obscure enough to look an awful lot like drunken getdowns. Needless to say, expectations are high for the record.
The album — and no, I have no idea what the “I.E.V.” portion of the title means; the acronym has many definitions, including “Initial Entry Vehicle” — was recorded earlier this year in the band’s native Norway, and they embarked on a tour this past Spring in Portugal and Spain after finishing putting the basic tracks to tape. Over the summer, they opened for Pentagram and Pet the Preacher in their hometown, and later this month they’ll do likewise for Earthless at a show slated for Oct. 27 at Blå, once again in Oslo.
News and album art follow, reasonably fresh from the clutches of the PR wire. Get spaced:
SPECTRAL HAZE NEW RELEASE DATE
Spectral Haze was first conjured from the Void three years ago, through four sonick sorcerers residing in Oslo, Norway; Cëlestial Cöbra (Battery), Döömdogg (Bass guitar), Spacewülff (Vocals, guitars) and Sönik Slöth (Guitars). Through these last few years, Spectral Haze has undulated and grown into channeling through a fifth vessel, namely Electric Starling (Theremin, VOID). The upcoming album “I.E.V.: Transmutated Nebula Remains” follows their eponymous debut EP released in 2012 CE, and brings even more psyched out doom rock rituals.
Posted in Whathaveyou on September 8th, 2014 by H.P. Taskmaster
They’ve gone from a five-piece to a four-piece since the successful release of their Demo 2013 (review here), and it will be interesting as Slovenian doomers Mist make their debut on Soulseller Records to hear if that has an effect on their sound. The demo was cohesive sonically if also somewhat barebones in its style, but the band has continued to grow their reputation, touring Europe earlier this year and appearing at fests including the upcoming Hammer of Doom 9 in Germany and the Malta Doom Metal Festival. The theme, as you can probably tell, is doom.
Recording for Mist‘s new EP reportedly began at the start of the month. Title, tracks, release date, cover art and other info to come, but here’s the PR wire announcement that it’ll be released on Soulseller:
MIST SIGN WITH SOULSELLER RECORDS, EP COMING THIS FALL
Demons and witches gather!
Ljubljana, Slovenia’s all female doom metal group, MIST, have signed with Soulseller Records. The ambitious young band released their first demo recording simply titled “Demo 2013” in November last year. The demo has been re-issued on CD three times due to great interest.
“The past few months we have been working on an EP, which is to be released this winter, so we are really excited to have been offered a deal from Dutch label Soulseller records. We are looking forward to start a new chapter on our musical path and taking everything to the next level” the band states. The 4 tracker is scheduled to be released this winter on cd,vinyl and digital.
Formed in July 2012, MIST name legendary bands such as Black Sabbath, Pentagram, Candlemass, Coven, Saint Vitus and others as their key influences. They have already received positive reviews, radio airplay and had the chance to support bands such as Uncle Acid & The Deadbeats, Helstar, Officium Triste, Ophis and Cauchemar.
The band have already toured Austria, Italy, Belgium, the Netherlands and will hit the road again in Autumn, including performances at Malta Doom Metal Festival and the renowned Hammer Of Doom Festival in Würzburg, Germany.
Posted in Reviews on August 14th, 2014 by H.P. Taskmaster
“Better late than never,” or so the adage goes. If you’ve ever read more than two sentences on this site, chances are you’ve witnessed me complaining about being perpetually short on time, unable to fit in everything that I want to, etc. That’s been the case for at least the last four years. I’m always working at a deficit, and it’s usually just a question of whether or not I’m able to live with the level of behind that I am. In the case of Demon Eye‘s Leave the Light, I simply can’t take it anymore.
Released back in January on Soulseller Records, the debut long-player from the Raleigh, North Carolina, witch-rocking four-piece has haunted me — daily — as it has sat on the stack waiting to be reviewed, its righteously devilized jewel case cover burned into my consciousness no less than the cowbell-stomped chorus of “Adversary,” just one of the album’s 11 memorable exaltations of the left hand path. Comprised of guitarist/vocalist Erik Sugg, lead guitarist Larry Burlison, bassist/vocalist Paul Walz and drummer/vocalist Bill Eagen, Demon Eye owe much to early Pentagram‘s vaguely Luciferian swing and Sugg‘s touches of Eric Wagner influence go far in “Edge of the Knife” and the brooding “Fires of Abalam,” but they’re distinguished by proto-thrash riffing and ultimately wind up with an energetic, somewhat mystical concoction not entirely dissimilar in concept from Texas’ Venomous Maximus, though the
execution of Leave the Light works with its own blend.
To wit, opener “Hecate”‘s resonant hook and tradeoff of chugging and winding riffs and slower Motörhead spellcasting sets the stage for varied invocations of classic metal, but nowhere on Leave the Lightdo Demon Eye lose their heavy rock tonality or vibe. “Shades of Black” owes more to Thin Lizzy than Slayer, and the subsequent “Secret Sect” has a natural enough sound to namecheck Kadavar or Graveyard in terms of its ’70s loyalism. Side B branches out but remains catchy, with the shorter “Witch’s Blood” (2:47) setting up a moodier run with “Fires of Abalam” referencing Pentagram‘s “When the Screams Come” and delivering the band’s eponymous line while pulling back on the thrust to make “Devil Knows the Truth” sound even more motion-based, dueling leads just past the halfway point making it all the more a standout en route to “The Banishing,” which turns around the lyrical perspective to give Lucifer himself a chance to speak (anyone remember when Type O Negative did that for Black Sabbath‘s “Black Sabbath?”) and, before its 4:35 are done, earns a bit of sympathy for the devil to go with the classic heavy rock swagger, like Scorpions when they knew what was up.
The single-mindedness of a 46-minute full-length where just about every song is in one way or another about hellishness and ghouls and Satan and whatnot becomes a factor by the time Demon Eye get down to the closing duo of “From Beyond” and “Silent One” — both choice riffs, the latter locking into a groove every bit worthy to end the record — but what ultimately saves Leave the Lightfrom monotony are the sonic shifts between the songs and the flow that the CD enacts as it plays out. It’s worth noting that, as their first outing, Leave the Lightis remarkably consistent in the quality of its songcraft, and as six of these cuts — “Hecate,” “Witch’s Blood,” “Shades of Black,” “Fires of Abalam,” “Devil Knows the Truth” and “Silent One,” in that order — also appeared as Demon Eye‘s 2013 self-released debut EP, Shades of Black(a tape also came out through Sarlacc Productions), the band obviously knows a good thing when they hear it. Reusing one or two tracks from a first EP to first LP isn’t uncommon, but to incorporate all of them — and more importantly, to be right in doing so — shows a confidence in their approach that serves the band well as the other songs work their way between.
It really has been months that Leave the Lighthas worn on my mind, and though I feel a bit like writing this review is an exorcism, the songwriting here and the cohesiveness of Demon Eye in what’s still their early going (they got together in 2012) stand as testament to the fact that this won’t be the last time we hear from them. Next time around, I’ll be ready.
Posted in On the Radar on August 13th, 2014 by H.P. Taskmaster
Spanish cult rockers Lewis and the Strange Magics have worked fast. In late June, the Barcelona garage doomers released their debut demo, aptly-titled Demo, with an initial three songs available digitally for those who might have the inclination to check them out. Less than two months later, the band — whose lineup remains a mystery and of whom no photos have surfaced — signed a deal with Soulseller Records to release their first album, on which they’ve already begun work. The Demoitself moves with similar efficiency. Barely 90 seconds have passed into opener “How to be You” before Satan is invoked in a catchy chorus reminiscent of Ghost for its harmonies and The Devil’s Blood for its psychedelic swirl, but rougher in its production than either. Both of those bands owed a considerable debt to ’70s cultistry, and Lewis and the Strange Magics do likewise — see Coven, Salem Mass, Black Widow, etc. — but a sense of theatricality comes through the subsequent “Cloudy Grey Cube” (also featured in July’s podcast), and it’s more in line with classic Alice Cooper Band than anything so specifically devilish.
There also seems to be a different vocalist on the second of Demo‘s three cuts from that on “How to be You” — the opener also being the longest inclusion; immediate points — but I could be way off on that, and I suppose the nebulous unknown is part of what makes Lewis and the Strange Magics an engaging listen. So far as I know, they’ve done no shows, and while the elephant in the room stylistically here is unquestionably Uncle Acid and the Deadbeats, who rode similar garage mystique all the way to an opening slot for Black Sabbath and an impending major market US tour, Lewis and the Strange Magics aren’t so singular in their influence as the construction of their moniker might have you believe. Tonally, Lewis and company delve into vintage-isms, and there are at least two guitars on “Cloudy Grey Cube,” though that could just as easily be tape layering in the solo section before a return to the classic stoner swing of the verse riff that finishes out.
“Golden Threads” rounds out in spooky proto-metal form, a late ’60s Halloween psychedelia persisting in echoing soul vocals and a jangly but threatening intro/chorus riff, a dead giveaway of some underlying metallic influence. The closer opens up to a doomly groove, but never loses its swing, and deftly returns to its verse and instrumental chorus to close the quick 15-minute romp with a hint at darker explorations to come. Whoever they are, Lewis and the Strange Magics have arrived with a strong sense of what they’re looking to accomplish aesthetically, and while I wouldn’t be surprised to find their Soulseller debut a more complex, individualized effort than Demo, the three tracks included here make it easy to understand what all the hubbub is about, trading as they do in a fresh sound and giving another spin on what’s quickly becoming an established subgenre in its own right with garage-influenced doom rock. One way or another, expect to hear more about Lewis and the Strange Magics as they approach their debut proper, since buzz of this sort rarely disappears overnight.
Posted in Whathaveyou on January 8th, 2014 by H.P. Taskmaster
After hitting the UK in collusion with Widows last October (also with Wizard Fight on board for the run), Norwegian doomers Tombstones will once more hit the road alongside the Britsh outfit. Tombstones are touring in support of their fourth album, Red Skies and Dead Eyes(review here), on Soulseller Records, and the current stint is slated to hit the Netherlands, Belgium, France, Switzerland and Germany starting on Feb. 1.
The PR wire has it like this:
Tombstones / Widows – European Tour, February 2014
In the first week of February, Eclipse Productions brings you Northern Doom, set to captivate the European continent. The ultra-heavy Norwegian three-piece TOMBSTONES team up with UK-groovers WIDOWS for a 7-day trail, visiting The Netherlands, Belgium, France, Switzerland and Germany.
TOMBSTONES’ highly acclaimed album “Red Skies and Dead Eyes” was released in October by Soulseller Records, and has featured in many end-of -year lists and has received rave reviews from web- and fanzines throughout the world, including the likes of Terrorizer, Visions Magazine and Metal Hammer. In 2013 the band blew minds with three bludgeoning sets at Desertfest in London, found themselves supporting bands such as Clutch and Ufomammut, and are now ready to once again bring their crushing live act across Europe. TOMBSTONES can be described as the bastard child conceived by a filthy threesome with Sleep, Melvins and Bongripper.
Nottingham-based WIDOWS play music you can raise a beer and swing a fist to and they do it hard fast and loud, with bone crushing grooves and undeniable swagger!Influenced by the likes of Down, Kyuss, and Clutch, WIDOWS have spent the three years since the release of their debut EP (2010’s Raise the Monolith) building up an ever more impressive live set as they chewed up, spat out, and pounded venue after venue into submission, adding weight to their sets with regular new tracks and building the collection of songs that would later become their debut full length CD, Death Valley Duchess.